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jarred cutting in the scenes where the doorman becomes humiliated. A combination of distortion and overlapping of images is used in the scene where the doorman is drunk to portray his subjective experience. The camera work provides enhancements to
Jannings's creative use of body language by using close ups and camera angles that encourage the viewer to see the events from the doorman's perspective. This type of camera movement is called affective movement. This term is used for camera movement that is based on the character's emotions, whereas camera movement that is based on the character's actions is referred to as action movement. In order for the viewer to be drawn further into the film, the camera must successfully correspond its movement to how the viewer would act in that specific scenario. In the scene where he is drunk, the unchained camera freely maneuvers and circles throughout the room, as if the viewer were drunk.
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expressions. This affective camera movement is effective for the viewer to identify and relate more with the character's inner emotional condition. By creating a connection between the viewer and the character with the unchained camera technique, the viewer becomes integrated into the film. This demonstrated the potential that camera movement brought to filmmaking. These aspects of the film come together to the term subjective movement, in which the viewer interprets camera movement subjectively, whereas they interpret the character's actions more objectively in action movement. The unchained camera captures the true essence of subjective movement and thus creates more possibilities in filmmaking.
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his demotion from his friends and family but, to his shame, he is discovered. His friends and neighbors, thinking he has lied to them all along about his prestigious job, taunt him mercilessly while his family rejects him out of shame. The doorman, shocked and in incredible grief, returns to the hotel to sleep in the washroom where he works. The only person to be kind towards him is the night watchman, who covers him with his coat as he falls asleep.
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kindness. On their way to his magnificent horse-drawn carriage, the doorman gives tips to all the service personnel from the hotel, who quickly line up along his way. In the final scene of the film, when both the doorman and the night watchman are in the carriage, a beggar asks the doorman for some money. The doorman invites the beggar to the carriage and even gives a tip to the new doorman, who is now in charge of bringing the guests inside.
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The film's lack of intertitles reflects Murnau's view that they were "an obstructive presence in film" that pointed to film's reliance on other art forms. In an interview with journalist Eduard Jawitz, Murnau stated that film was still a "young" art that did "not yet fully appreciate its own forms of
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praised its "opalescent surfaces streaming with reflections, rain, or light: car windows, the glazed leaves of the revolving door reflecting the silhouette of the doorman dressed in a gleaming black waterproof, the dark mass of houses with lighted windows, wet pavements and shimmering puddles... His
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is used to introduce the film's epilogue. The title card explains that while the narrative would realistically end with the doorman remaining in his hopeless situation, the film's writer "took pity on him" and created an "improbable" ending. This intertitle introduces a tonally different scene where
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The power of the uniform in the German culture was analyzed in a scholarly article by Jon Hughes. Wearing of a uniform appears to enhance masculinity of the person and provides some institutional power, as the wearer identifies himself/herself with the corresponding institution. Therefore, a uniform
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Another example of how the unchained camera technique brings the viewer into the film is the moment when the doorman learns that he has been replaced by a new, younger doorman. In this scene, with the help of a close-up and zoom-in of his face, the viewer now pays even closer attention to his facial
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later said that "The camera...glides, rises, zooms or weaves where the story takes it. It is no longer fixed, but takes part in the action and becomes a character in the drama." Years later Karl Freund dismissed Murnau's contributions to the films that they made together, claiming that Murnau had no
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called it "probably the least sensational and certainly the most important of Murnau's films. It gave the camera a new dominion, a new freedom... It influenced the future of motion picture photography... all over the world, and without suggesting any revolution in method, without storming critical
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Jannings' character is a doorman for a famous hotel, who takes great pride in his work and position. His uncaring manager decides that the doorman is getting too old and feeble to present the image of the hotel, and so demotes him to a less demanding job, of washroom attendant. He tries to conceal
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was an "almost perfect film". The cooperation with Murnau was for
Hitchcock essentially a "key reference point". Hitchcock also expressed his appreciation for Murnau's camera-points-of-view and the subjective shots which provided "audience identification" with the main character. The rating of
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The use of camera movement, dramatic camera angles, distorted shots, and changing focus contributed to creating new perspectives and impressions for viewers. The film's use of montage was also pioneering: Murnau's technique was to use a smooth and rapid cutting in the initial scenes followed by
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At the end, the audience reads in the newspaper that the doorman inherited a fortune from an eccentric millionaire named A. G. Monney, a patron who died in his arms in the hotel washroom. The doorman returns to the hotel, where he happily dines lavishly with the night watchman who showed him
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denied this statement and defended Murnau. Murnau described the film's cinematography as being "on account of the way... were placed or photographed, their image is a visual drama. In their relationship with other objects or with the characters, they are units in the symphony of the film."
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Germans were looking for some hope for improvement of their economic situation. Even such an unrealistic possibility as inheriting money from somebody else brought some hope. This need for hope and the director's knowledge of the expectations of the general public were the reasons that
394:. He stated that "All our efforts must be directed towards abstracting everything that isn't the true domain of the cinema. Everything that is trivial and acquired from other sources, all the tricks, devices and cliches inherited from the stage and from books." Murnau called screenwriter
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The film's story and content were also praised by critics, with Eisner stating that it "is pre-eminently a German tragedy, and can only be understood in a country where uniform is king, not to say god. A non-German mind will have difficulty in comprehending all its tragic implications."
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Decorations and presentation of contrasting environments were also significant in creating the impression. The contrast between the rich environment of the
Atlantic hotel and the lower class housing, gives an impression of a realistic presentation of situations. The decorators for
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expression and its material" which he explained was the reason that most films relied on intertitles to convey meaning. This perspective led Murnau to experiment with different visual strategies to communicate the film's narrative, like subjective camera movement and mise-en-scène.
441:" (unchained camera). In one scene a camera was strapped to Freund's chest as he rode a bicycle into an elevator and onto the street below. In another scene a camera is sent down a wire from a window to the street below, and later reversed in editing. French filmmaker
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Following this comes the film's only title card, which says: "Here our story should really end, for in actual life, the forlorn old man would have little to look forward to but death. The author took pity on him, however, and provided quite an improbable epilogue."
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the film jumps forward in time, showing the now wealthy doorman dining in the hotel. This ending has received criticism for its convenience, with some critics questioning whether the intertitle was an apologetic interjection from Murnau about this conclusion.
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released a reconstruction of the German version and an "unrestored export version" in 2008 (the latter apparently the version used by Kino in previous releases). A bonus 40-minute documentary compares the German, American and international versions.
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were Robert Herlth and Walter Röhrig. Another use of contrast was the illustration of the respect and essentially the power of the uniform combined with the ridicule and disregard which the doorman experienced after his demotion.
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533:. The first academy awards in 1929 included an award for "Best Writing – Title Cards," as they were usually a key element of a film, and were thought to be necessary in conveying a film's narrative to audiences.
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or "chamber-drama" genre, which follows the style of short, sparse plays of lower middle-class life that emphasized the psychology of the characters rather than the sets and action. The genre tried to avoid the
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The film was a major critical and financial success and allowed Murnau to make two big budget films shortly afterwards. Critics praised the film's style and artistic camera movements. Film critic
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Murnau noted that the story was absurd on the grounds that "everyone knows that a washroom attendant makes more than a doorman." The signs in the film are written in an imaginary language that
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There were three different versions of the film, for German, American and international audiences. While
European markets retained the meaning of the original German title (
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said that it "definitely established the film as an independent medium of expression... Everything that had to be said... was said entirely through the camera...
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interest in lighting and never looked through the camera, and that "Carl Mayer used to take much more interest than he did in framing." The film's set designers
289:(title cards) of spoken dialogue or description that characterize most silent films, in the belief that the visuals themselves should carry most of the meaning.
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Franklin, James, C. Teaching culture through film: Der letzte Mann. Die
Unterrichtspraxis/Teaching German. Volume 13, No. 1 (Spring 1980), p. 34, pp. 31-38.
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Franklin, James, C. Teaching culture through film: Der letzte Mann. Die
Unterrichtspraxis/Teaching German. Volume 13, No. 1 (Spring 1980), p. 35, pp. 31-38.
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German cinema began co-operative ventures with
Hollywood producers, which led to mutual influence and in 1926 the German producers signed a contract with
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Hughes, Jon. 'Zivil ist allemal schadlich'. Clothing in German-language culture of the 1920s. Neophilologus, Volume 88 (2004), p. 444, pp. 429-445.
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Hughes, Jon. 'Zivil ist allemal schadlich'. Clothing in German-language culture of the 1920s. Neophilologus, Volume 88 (2004), p. 439, pp. 429-445.
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pointed out that "all the tenants, in particular the female ones... as a symbol of supreme authority and are happy to be allowed to revere it."
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had done, it turned technical attention towards experiment, and stimulated... a new kind of camera-thinking with a definite narrative end.
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illustrates clearly this effect of self-confidence and personal/institutional power as connected to wearing of a decorated uniform.
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Stephen
Brockmann summarized the film's plot as, "a nameless hotel doorman loses his job". It is a cinematic example of the
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fought and Pick left the film. The film famously uses no intertitles, which had previously been done by Mayer and Pick on
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camera captures the filtered half-light falling from the street lamps... it seizes railings through basement windows."
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Director F. W. Murnau was at the height of his film career in
Germany and had high ambitions for his first film with
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Prager, Brad. A critical history of German film. Monatshefte, Volume 103, No. 3 (Fall 2011), pp. 472-474; (p.473)
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517:. The quick ascension of the Nazis to power could also be attributed to their widespread use of uniforms. The film
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was cine-fiction in its purest form; exemplary of the rhythmic composition proper to the film." Years later
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techniques and stated that his cooperation with Murnau was an "enormously productive experience" and that
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went to Berlin and started working with
Friedrich Murnau. Hitchcock was very impressed with Murnau's
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Figge, Richard, C. Montage: The German film of the Twenties. Penn State University Press. URL:
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Horak, Jan. "Sauerkraut and sausages with a little goulash: Germans in Hollywood, 1927."
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Wakeman, John. World Film Directors, Volume 1. The H. W. Wilson Company. 1987. pp. 811.
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Wakeman, John. World Film Directors, Volume 1. The H.W. Wilson Company. 1987. p.813.
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Bade, James, N. "Murnau's 'The Last Laugh' and Hitchcock's subjective camera."
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Bade, James, N. "Murnau's 'The Last Laugh' and Hitchcock's subjective camera."
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Bade, James, N. "Murnau's 'The Last Laugh' and Hitchcock's subjective camera."
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provides personal confidence and the respect of others, as illustrated in
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The film was shot entirely at the UFA Studios. Murnau and cinematographer
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someone who worked in "the true domain of the cinema" and agreed to make
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used elaborate camera movements for the film, a technique later called "
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Hieroglyphic Modernisms: Writing and New Media in the Twentieth Century
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Franklin, James, C. "Teaching culture through film: Der letzte Mann."
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Franklin, James C. "Teaching culture through film: Der letzte Mann."
1028:"The Last Laugh movie review & film summary (1924) | Roger Ebert"
561:. The war reparation payments imposed on Germany caused skyrocketing
1005:(1st ed.). University of California Press. 2016. p. 499.
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was unusual in its use of only one title card throughout the film.
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974:"1929 | Oscars.org | Academy of Motion Picture Arts and Sciences"
1157:"Review: F.W. Murnau's The Last Laugh on Kino International DVD"
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One of the results of this early cooperation was that director
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in Hollywood was very high: "Hollywood simply raved about
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1055:, Volume 13, No. 1 (Spring 1980), p. 33, pp. 31-38.
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List of films with a 100% rating on Rotten Tomatoes
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869:"New DVDs: 'Risky Business' and 'The Last Laugh'"
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292:The film was voted number 11 on the prestigious
850:as examples of Esperanto signs. It references
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585:of scientists from all over the world to the
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1003:The Promise of Cinema: German Film Theory
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1119:, Volume 23 (2006), p. 258, pp. 256-266.
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852:famous interview with François Truffaut
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1155:Schenker, Andrew (23 September 2008).
1143:Film History: An International Journal
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1053:Die Unterrichtspraxis/Teaching German
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911:https://www.jstor.org/stable/40246138
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1130:Quarterly Review of Film and Video
1117:Quarterly Review of Film and Video
1104:Quarterly Review of Film and Video
711:, a film review aggregator website
274:Emil Jannings as the Hotel Doorman
218:(1924) by F. W. Murnau, full movie
16:1924 film directed by F. W. Murnau
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1067:A Critical History of German Film
1446:Tabu: A Story of the South Seas
692:List of German films of 1919–32
1565:Films scored by Giuseppe Becce
1545:Films produced by Erich Pommer
1515:Films directed by F. W. Murnau
402:after Mayer and film director
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1422:Sunrise: A Song of Two Humans
1026:Ebert, Roger (5 March 2000).
867:Kehr, Dave (6 October 2008).
255:from a screenplay written by
1535:German black-and-white films
1505:Films of the Weimar Republic
1302:The Hunchback and the Dancer
1213:Literature on The Last Laugh
741:Roger Ebert (5 March 2000).
251:directed by German director
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544:The singular title card in
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1540:German Expressionist films
1065:Brockman, Stephen (2010).
704:Unchained camera technique
151:23 December 1924
1500:Silent German drama films
1390:The Grand Duke's Finances
1318:Evening – Night – Morning
913:. Accessed 6 March 2013.
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817:Schotter, Jesse (2018).
166:4 January 1925
743:"The Last Laugh (1924)"
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842:It mentions the words
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351:as bridegroom's aunt
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1530:Films set in hotels
1525:Films set in Berlin
1032:www.rogerebert.com/
807:Kino DVD commentary
682:German film history
247:) is a 1924 German
245: The Last Man
1560:1920s German films
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669:Kino International
651:Siegfried Kracauer
553:Historical context
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798:Wakeman. pp. 812.
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1457:Miscellaneous
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631:C. A. Lejeune
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331:Emil Jannings
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144:Release dates
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48:Screenplay by
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1271:F. W. Murnau
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1222:, four parts
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834:. Retrieved
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687:F. W. Murnau
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471:The Last Man
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443:Marcel Carné
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422:in the film
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339:as his niece
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253:F. W. Murnau
223:
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183:Running time
62:Erich Pommer
42:F. W. Murnau
18:
1037:27 November
984:27 November
883:12 February
658:Roger Ebert
634:opinion as
583:brain drain
525:Intertitles
433:Karl Freund
349:Emilie Kurz
302:Hans Albers
294:Brussels 12
287:intertitles
249:silent film
98:Karl Freund
58:Produced by
38:Directed by
1490:1925 films
1485:1924 films
1479:Categories
836:18 October
716:References
664:Home media
623:Paul Rotha
396:Carl Mayer
386:Production
373:Georg John
361:Olaf Storm
343:Max Hiller
257:Carl Mayer
187:90 minutes
170:1925-01-04
155:1924-12-23
115:Production
85:Max Hiller
52:Carl Mayer
1438:City Girl
1366:Nosferatu
656:In 2000,
579:Hollywood
563:inflation
464:Esperanto
428:in 1923.
415:Sylvester
404:Lupu Pick
379:Emmy Wyda
300:starring
230:‹See Tfd›
1430:4 Devils
1406:Tartuffe
1208:AllMovie
877:Archived
676:See also
637:Caligari
462:took as
425:Schatten
409:Scherben
104:Music by
68:Starring
1374:Phantom
1350:Marizza
1227:YouTube
477:title.
242:transl.
195:Germany
192:Country
168: (
153: (
117:company
1449:(1931)
1441:(1930)
1433:(1928)
1425:(1927)
1417:(1926)
1409:(1926)
1401:(1924)
1393:(1924)
1385:(1923)
1377:(1922)
1369:(1922)
1361:(1922)
1353:(1922)
1345:(1921)
1337:(1921)
1334:Desire
1329:(1921)
1321:(1920)
1313:(1920)
1305:(1920)
1297:(1920)
1289:(1919)
1073:
1009:
848:Farina
827:
234:German
1414:Faust
1294:Satan
844:Etali
475:Laugh
138:(USA)
1186:IMDb
1071:ISBN
1039:2023
1007:ISBN
986:2023
885:2017
846:and
838:2019
825:ISBN
450:and
412:and
325:Cast
308:Plot
263:and
133:UFA
1225:on
1206:at
1184:at
392:UFA
123:UFA
1481::
1159:.
1030:.
994:^
976:.
947:^
918:^
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767:^
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733:^
589:.
466:.
304:.
267:.
240:,
236::
1263:e
1256:t
1249:v
1165:.
1079:.
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1015:.
988:.
887:.
854:.
840:.
749:.
227:(
172:)
157:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
